Sunday, May 5, 2013

Practice AP Essay: The Sirens


            The Sirens are known in Greek mythology for their alluring song of death. No man can resist their song, and no man leaves alive once he is pulled in. Margaret Atwood and Homer both describe the Sirens in their work but go about doing it in different ways. By writing from two different points of view with differing tones, the authors give the audience a more dynamic understanding of the Sirens.

            Homer’s recount is written from the first person point of view of Odysseus while Atwood’s poem is written from the first person point of view of a Siren. In Homer’s version, Odysseus is aware of the threat of the Sirens and is bracing himself to resist their song. Odysseus, valiantly trying to resist, still “signal[s] the crew with frowns to set [him] free” (Homer 21). Point of view is so important here because everyone knows how strong a warrior Odysseus is, and yet even he could not resist without his crew holding him back.  Moreover, this shows that the Sirens are able to be defeated. Odysseus takes the reader step by step how to resist the Sirens and stay alive. Atwood’s version of the story is from the point of view of a Siren. This allows the reader to see the true cunning involved with a Siren’s actions. The actual process of roping in a victim is portrayed, making the Siren seem like a much a more dynamic character than in Homer’s passage. The Siren cheekily tells her next victim, “Alas/ it is a boring song/ but it works every time” (Atwood 25-7). The reader can see the intricacies that go into her speech and how exactly she allures the men because it is actually a Siren telling the story. She becomes more interesting and understandable in Atwood’s recount.

            The tones of the two pieces are also quite opposite. Homer’s piece has a much more serious tone.  Odysseus is trying to return home to his finally and therefore, must escape the grasps of the perilous Sirens. He has his crew tie him up “hand and foot in the tight ship” (Homer 8). The crew and Odysseus are fighting for their lives, and the desperation is evident. This is no joking matter, and Odysseus is not concerned with the details about the Siren’s song. He is solely concerned with escaping them and getting home. Atwood’s version, however, is much more light-hearted and witty. By taking on the role of a Siren herself, Atwood shows the deceit and cunning that goes into getting victims. She exemplifies exactly why no man can resist with her alluring speech. The tone is light because to the Sirens, taking in and destroying sailors is a game. They gain pleasure from tricking the men that pass by. The tone in Atwood’s piece reflects the personality of the Sirens.

            The differing points of view and tones used to describe the Sirens show how the world views the Sirens and how the Sirens view the world. Odysseus, the metaphor for society, is scared of the Sirens and forced to hatch elaborate plans just to survive. The Sirens, as seen through Atwood’s account, are cunning and playful, finding unique ways to reel in every sailor that passes. One passage depicts terror; the other depicts a glorified game.

Tuesday, April 30, 2013

P&P #10

              Wickham is an absolute and utter scoundrel. Though Pride and Prejudice  is not a typical antagonist versus protagonist plotline, Wickham would win the antagonist role without a doubt if it had to be chosen. There are many arguments that Mr. Collins is supposed to be the character that the audience hates in this novel. The audience should abhor him for his self-centeredness and belittling nature. However, Mr. Collins is nowhere near as faulted as Wickham. Wickham lies to everyone he meets about Mr. Darcy. Uses his charismatic personality to win over all the ladies around him such that no one expects his cunning, nasty nature. No one knows of his impropriety or his impertinence. Then, he has the gall to run away with Lydia, one of the Bennet girls, and have no regard for proper marital customs. Collins may be self-centered and pompous, but at least he abides by society’s constructs. He is not running his mouth, collecting debts, and stealing women. Collins tries to take the conventional route and properly meets the Bennet family before giving a formal request of marriage to Elizabeth. Elizabeth does not accept the proposal, but there is still the most basic sense of respect between Elizabeth and Collins. In Wickham’s case, this is far from true. Elizabeth accosts Wickham’s character, saying that he has “neither integrity nor honour. That he is as false and deceitful as he is insinuating” (240). Elizabeth never speaks with as much distaste as she does here towards any other character. If there is one truly evil character to remember from this novel, Wickham is unanimously that character.

Saturday, April 27, 2013

P&P #8-9

           Elizabeth embarks on a vacation with her uncle and aunt, but what she sees is nothing that she could have imagined. In running into Mr. Darcy, Elizabeth sees feelings within herself that she never know existed. Everyone in Darcy’s hometown has nothing but good things to say about him. They hold him in the highest regard. Moreover, Darcy treats Elizabeth and her family amiably and with the utmost respect upon meeting them even though Elizabeth has rejected him. Elizabeth’s eyes are opened, and she realizes slowly the mistake she has made: “She respected, she esteemed, she was grateful to him, she felt a real interest in his welfare” (224). The disdain that she once felt for Darcy has disappeared, and she is shocked with the true feelings she has for him. Elizabeth dismissed Darcy’s initial proposal, but now she is beginning to hope that she has not lost her chance. Darcy is a misunderstood character. That he is prideful is without a doubt, but thanks to characters like Wickham purporting stories, Darcy is made to seem as much more reprehensible than he actually is. Elizabeth has slowly seen through this façade that is built and is finally appreciating Darcy for the honest, noble man that he is.

Thursday, April 18, 2013

P&P #1-5


            The novel Pride and Prejudice incorporates many characters with many different personalities. As the story progresses, these personalities clash, creating a whirlwind of events. The Bennet women are not rich, but they still have very strong opinions. Elizabeth, in particular, is very proud; Mr. Darcy vexes her. She does not like Bingley’s sisters. She has a deep disdain for Mr. Collins. It seems that everyone she comes across she has a problem with. She is very quick to judge. The whole society in general judges with celerity. It is from their proud dispositions that prejudice is born. Elizabeth believes that Mr. Collins is revolting and thus refuses to associate with him. Mrs. Bennet thinks of herself as far above the Lucas family and thus resents them greatly when Charlotte is offered Mr. Collins’ hand in marriage. Mr. Darcy cannot even lower himself to engage in conversation with the Bennet’s when he first arrives because of his haughty disposition. It seems as if a majority of the characters have a chip on their shoulder, and that prevents them from being authentic with anyone. They constantly have their guards up and are deciding who is suitable enough to even be associated with them. Jealousy courses through them as they covet what others have while turning away the offers they are given.

                One of the best examples of pride appears in the proposal between Mr. Collins and Elizabeth. Mr. Collins begins the request by listing all of his reasons for why he wants to be married. He basically brags about how great he is in the hope of swaying Elizabeth. He says that of fortune he will “make no demand” (92). He is making a very enticing offer, but the manner in which he goes about making it is poorly chosen.  He places himself at a higher level than Elizabeth, and that clearly does not appeal to her. Naturally, she rejects the proposal, for though she may not be rich, she is also extremely proud. She claims that it would be impossible for her to ever be happy with Mr. Collins and thus dismisses him. Mr. Collins does not even accept her initial refusal. In his head it is just a game she is playing, and eventually, she will accept. However, he is mistaken. Mr. Collins and Elizabeth are two of the proudest characters in the novel, so it is only natural that their encounters would not end well. Their prejudices are too great to be joined in a union.

Wednesday, April 10, 2013

AP Lit Practice Essay-1973


Prompt: AP Literature 1973 Open-ended Question  

In order for the ending of a literary work to be effective, it must come to some sort of conclusion. Whether it is that everyone dies or everyone lives happily ever after, it must have some type of closure. Hamlet, a Shakespearean tragedy, ends with a scene of many deaths and the passing on of a kingdom. In the deaths of nearly all of the main characters, the tragedy of Hamlet has a very appropriate ending except for the uncertainty that lies for the kingdom of Denmark ahead.

            Claudius and Laertes are both killed by their own wrongdoings. Claudius kills Hamlet’s father and then quickly marries Hamlet’s mother. He ascends the throne with no regard for Hamlet or law. His scheming does not stop there though. Throughout the play, he keeps close tabs on Hamlet and eventually tries to murder him, being finally successful on the second try. Laertes, after his father is wrongly killed by Hamlet, plots with Claudius to destroy Hamlet by stabbing him with a poisonous sword. Both Laertes and Claudius end up dying because the poison they use on Hamlet is also inflicted on themselves. It is a rightful end to the play because it shows the repercussions of scheming and trying to take the lives of others. If they had not hatched such a violent plan against Hamlet, they would have ended up saving their own lives.

            Gertrude also falls as collateral damage in this intricate ploy of Claudius’s and Laertes’s. Gertrude is Hamlet’s mother and the current wife of Claudius. She was initially married to Hamlet’s father, and only weeks after his death, she marries Claudius. Though Hamlet is told that he is not to harm his mother, it seems like proper closure for her to die with the rest of them because she is not innocent in the whole situation. She should never have married Claudius so hastily and therefore, meets her fate. Moreover, this is even more of an appropriate ending since the killing did not come at the hands of Hamlet, so Hamlet still keeps his promise to the ghost of his father.

            Hamlet is also, unfortunately, poisoned in this final scene, giving a rightful end to the tragedy of Hamlet. Hamlet has not physically done anything so egregious that he deserves death, but rather, it is what he has not done that sets his fate. His inability to take revenge after his father’s death and stand up to his uncle allows for his demise to occur. Hamlet is ordered by the ghost of his father to act upon Claudius since Claudius murdered old Hamlet. Hamlet, however, is too wrapped up in his own mind to take this action and get rid of Claudius once and for all. Thus, this leaves the gap of time in which Claudius and Laertes devise a plan for Hamlet’s murder, and it ends up being successful. Hamlet’s inability to act leads to his death, showing that one must think and act quickly and avoid this passivity, a logical conclusion for Hamlet.

            The one questionable conclusion for Hamlet  is the succession of the kingdom. Hamlet states that the kingdom is to be given to Fortinbras, the aggressive prince of Norway. This decision seems to be an odd choice. Hamlet’s father had been at odds with Norway and would not have wanted his kingdom in their hands. Moreover, the reader is left wondering what is to come of Denmark. Will Fortinbras rule justly? Will he take out his revenge on the Danish people? These questions are left up in the air. To have a changing of the guard in the very final scene of the play leaves much to question, and the reader can only speculate what will be of Denmark.

            Hamlet has a very appropriate ending for the fates of the main characters yet a cliffhanger ending for the kingdom of Denmark. Claudius and Laertes die for their scheming and cruel acts. Hamlet dies for his lack of action, and Gertrude dies for making very questionable life choices. Those who have failed to act valiantly die. The ending serves as a life lesson that one must act with honor in order to prosper. Fortinbras, who is probably one of the most honorable characters, lives and inherits Denmark. Now, the only question left to be determined is what will become of this small nation.

Tuesday, April 2, 2013

Poetry Slam: 3 Poems


They Told Me Write a Poem

They told me write a poem
They said it was easy 

I told them, what even is a poem?
But a collection of words
With some sort of rhythm, or a meter, or a pattern, or a theme
I told them life is a poem
Why don’t I just write my life?
It has a rhythm, a meter, a pattern, a theme
But it’s not easy
They said it was easy

They told me write a poem
They said it was easy

They told me write a poem
They said just write about the world
I told them, the world’s a mess
Countries are fighting
Governments are crashing
Natural disasters striking everywhere
You want my poem to be a mess?

They told me write a poem
They said it was easy

They told me write a poem
They said just look outside
I told them that when I look outside
All I see is tragedy
A world where you can’t marry who you love
Because of gender
A world where anyone can buy a gun
While kids are being shot
I told them I see injustice
You try to write injustice

They told me write a poem
They said it was easy

They told me write a poem
They said write what you know
I told them I don’t know much
Why does the earth orbit the sun?
Is there really a god?
What does racism stem from?
Why does my brain develop questions instead of answers?

They told me write a poem
They said it was easy
 
They told me write a poem
I told them tell that to the children starving in Africa
And the Middle East and India and all over the world
Tell that to the children who don’t even have food to eat
Let alone an education

They told me write a poem
They said it was easy
 
I told them you’re right, words are easy
Actions are hard
Especially in this messy, tragic world of ours

They told me write a poem
I told them I just did



Graduated Now

I’m standing here, In the middle of this town.
Draped in a long, black, stupid gown.
Stupid hat on my head.
Stupid words in red.
Telling me that I’m graduated now.

Now what can I see?
Who can I be?
I could go on to grad school,
Get my PhD.
Just loan some $20,403
Dollars out to me,

So I can pay for another four years,
Eight semesters,
Twenty four classes,
And another little paper,
Telling me that I’m graduated now.

So again I can stand and think to myself,
Is this for my well-being?
Is this for my health?

Can I get more money?
Can I get more jobs?
Can I pay this $500,063 dollars off?

You’d think I’d have a clue,
Of what I’m supposed to do.

After four years of college,
I thought so too.

But I’m on my own now,
All by myself.
No head-start.
No aid, no help.

So was college a good choice for me.
A good choice for me and my degree,
In Biology, Ecology, Technology, Psychology.
It doesn’t matter, does it?
We’re all still set free.
Let out to create our own destiny.

Untitled (Sorry about the highlighting. Google docs issues aka technology is dumb)


Who can deliver us

Up out of this weary world

Who can save me

From this tired and cold dark sunrise,

This shot-through bleeding sunset,

That threatens everything I see?

 

Who can answer us

This question burning in my mind

Who can tell me

Where justice has gone with all these lies

And why we’re all afraid of what

We can be

 

Will it always remain the same?

Will it always hurt this way?

Can the world keep going,

Keep spinning, turning, rolling

And drowning out my voice?

 

Who can deliver us

Is it your god or mine, or his, or hers, or theirs

Or is it time to figure it out ourselves?

To let go of our excuses, to bear it on our own shoulders?

Who can save me

From this hostile, unwelcome world

This looming crowd of angry faces

That surrounds me?

 

Can it always remain the same?

Can it always hurt this way?

Will the world keep going,

Keep spinning, turning, rolling,

Even when I’m gone?

 

 

Saturday, March 23, 2013

Hamlet Act 3 Scene 4

          In Act 3, scene 4 Hamlet finally confronts his mother, Gertrude. King Hamlet’s ghost told Hamlet that he is not to kill his mother like he is to kill Claudius, but that does not mean the Gertrude is blameless and deserves no repercussions. Hamlet finally releases some of his fury in this conversation with his mother. In the scene he picks up a picture of the two brothers, King Hamlet and Claudius, together. Hamlet compares his father to a god, describing his “eye like Mars’ to threaten and command” (III.iv.67). He also compares him to Jove and Mercury. Then he transitions into speaking of Claudius and has nothing but disgust for the man. He is in utter disbelief that his mother “would step from [King Hamlet] to [Claudius]” (III.iv.81). He goes on to say that there must be something wrong with his mother’s senses, or she must have been tricked in some way. Otherwise, he sees no plausible reason why she would so quickly marry Claudius after his valiant father’s death. However, maybe that is just it. There was no reason in Gertrude’s act. She allowed her brain to shut down and simply acted rashly. She allowed emotion to take over, and now she has lost her son. Hamlet is unwilling to forgive her. He is not going to kill her, but that does not mean that Gertrude is not figuratively dead to Hamlet.

Monday, March 18, 2013

Witness


Witness

I step outside

To hear

The call of birds

To see

The clouds passing by

To smell

The freshly bloomed flowers

To taste

The cool spring air

To feel

The grass between my toes

 

I step outside to be a witness

A witness to something beautiful

Something natural

Something free

 

 

Wednesday, March 13, 2013

Hamlet #5


          Hamlet, suspicious of his uncle, enacts a clever way to confirm his suspicions. He has a play put on with a plotline exactly like the plotline of his life. There is a duke poisoned in a garden by a man who then tries to win over the late king’s duke. He succeeds though she does put up some protest. Hamlet has this play performed in front of Claudius and Gertrude, so that he can see their reactions as the plot plays out. Hamlet receives the reaction he is looking for as he recites, “He poisons him i’ th’ garden for his estate… You shall see anon how the/ murderer gets the love of Gonzago’s wife”(III.ii.286-290). Immediately, Claudius rises and storms out. Claudius does not speak, but the only logical inference to make in this situation is that this story has hit a nerve with Claudius because he performed similar actions with his brother. Hamlet knew that by putting on this play, he would be able to tell whether Claudius is truly guilty, and Claudius’s storming out is all the proof that he needs. Hamlet knows that it is Claudius who has killed his father, and now, it is quite clear that Claudius knows that Hamlet has discovered his secret. The conflict is on the verge of playing out, and the fight between Hamlet and Claudius is about to come to a head. Now the reader just has to wait and see who will be the winner.

Monday, March 11, 2013

Hamlet #4


          After watching an acting troupe put on a production involving a vengeful murder, Hamlet is greatly moved. He sees the passion that the actors have in a situation that is not actually real, and he realizes that he needs to be acting with much more vigor. After observing the play, he says to himself, “Tears in his eyes, distraction in his aspect,/ A broken voice, and his whole function suiting/ With forms to his conceit – and all for nothing!” (II.ii.582-4). The actor is demonstrating such emotion and action, and he is only acting. Hamlet, on the other hand, has real reason to be angry and vengeful. He almost feels as if he has insulted his father. He should be jumping to action since his father has been so greatly wronged, yet he has been a “dull and muddy-mettled rascal” (II.ii.594). Hamlet vows at this point to take action and to follow through with the plan outlined by the ghost of his father. This could potentially be a major turning point in this play. Before now, Hamlet has been solely mourning the death of his father. He has been angry at his mother and his uncle, but he has not fully expressed this anger. Now, he is ready to take his revenge. No one will doubt the fire that is stirring within him, and his uncle should be ready for a battle.

Wednesday, March 6, 2013

A Loss of Clarity


A Loss of Clarity

I feel it fading
The light is dimming
What once was so prominent in my life
Now has become a source of strife

I’m losing my grip
On what I used to think was truth
There was no other choice
Left myself wanting without a voice

I want something to believe in
Something to fall back on
But this couldn’t be it
It just doesn’t fit

I feel cold and alone
My heart is hollowed and my brain confused
I want to look and truly see
To fly and actually be free

They say once you lose this
You lose everything- it could be true
Maybe I’ve set my fate
There’s nothing more but to wait

A mist has settled
Over everything I once knew
Let the fog clear
Why, why were we put here?

Tuesday, March 5, 2013

Leaving a Hole


Leaving a Hole

Another bed empty
Another empty slot at the dinner table
Another voice lost

Yes this is all true
But also,

One less bed to make
One less mouth to feed
One less headache
 
But remember,

Another smile gone
Another opinion unheard
Another joke untold

Still true
However,

One less dentist appointment
One less argument
One less fake laugh

Never mind
Forget it
I’ll miss her
That’s it

 

Saturday, March 2, 2013

Hamlet #1


               In Act 1, Scene 2 the audience is introduced to the mess that is Hamlet’s family. King Hamlet has mysteriously dropped dead. The king’s brother has, within weeks, married the late king’s wife, Prince Hamlet’s mother, so now Hamlet has lost his father and has a new father in his uncle, and barely a month has passed. Needless to say, Hamlet is not pleased. In speaking of his mother, he says, “O God, a beast that wants discourse of reason/ Would have mourned longer!” (I.ii.154-5). Even an animal that does not have the ability to properly think through a situation would have showed more remorse than his dear mother did. Hamlet is deeply angry with his mother for betraying his father in this way. Hamlet is still crying and dressing in black, and his mother is jumping into another marriage: “most wicked speed, to post/ With such dexterity to incestuous sheets!” (I.ii.161-2). Not only has his mother remarried inappropriately quickly, but also she has married the brother of her former husband. This is deeply disturbing to Hamlet as it would be to any son. Hamlet is troubled, but he makes a prediction at the end of this soliloquy that could be very foreboding: “It is not, nor it cannot come to good” (I.ii.163).

Monday, February 25, 2013

Sound and Sense #14


Take Haste for Death Awaits

 

I am not afraid of death

In life is a beginning

In death is an end

They come together, hand in hand

 

I am not afraid of death

Who will be there I can’t say

What will come after I know not

But that it will come is a sure shot

 

Face the inevitable

Face your fears

Face your fate

Take haste for death awaits

Tuesday, February 12, 2013

Othello #7

            In this final scene of Othello, the tragedy finally strikes. Othello kills Desdemona. Iago kills Emilia. Othello stabs Iago but does not kill him. Finally, Othello kills himself. However, just before killing himself, Othello perfectly sums up his transformation. He says how he is no longer deserving of praise for his duty to the state. He states that he “threw a pearl away/ Richer than all his tribe” (V.ii.407-8). In doing so he acknowledges that he wrongly dismissed Desdemona. He expresses that he has been swindled by Iago. Othello begins the novel as a pure hearted, noble man, and along the way that appearance is marred with Iago’s trickery. He loses sight of that honest man and becomes a dark, vengeful animal. However, only after letting these heinous emotions overcome him and killing Desdemona does he finally see the error in his ways. Emilia, revealing Iago for the demon that he is, opens Othello’s eyes, but it is too late, and Othello realizes this. Thus, he takes his own life, which he sees as the only just punishment, but before this act he takes responsibility for his actions and repents.

Tuesday, February 5, 2013

Othello #7ish

          At the beginning of Act 5, Scene 2, Othello is getting ready to seek his revenge on Desdemona, hovering over her sleeping. However, Othello quickly shows the audience that there is still an internal struggle in his mind. Killing Desdemona is still a sad event for him though he believes that she betrayed him. He decides to kill her in a way that will not “scar that whiter skin of hers than snow” (V.ii.4). Therefore, in his mind she is still beautiful and has some sense of purity to be compared to snow. Then, Othello transitions into discussing the idea of Desdemona as a light, and his internal struggle is truly revealed. In putting out his physical torch, he can “again thy former light restore” (V.ii.9). However, in putting out Desdemona’s light in killing her, he cannot bring her back. In comparing Desdemona to a rose, another sign of affection, he states that he “cannot give it vital growth again” (V.ii.15). In this discussion with himself about the consequences of ending Desdemona’s life, he almost persuades himself to not commit the act. He almost “persuade[s]/ Justice to break her sword!” (V.ii.17-8). However, he does not change his mind. Moreover, he describes killing Desdemona to be the just thing to do, showing that he truly believes that she has wronged him so greatly that she deserves to die. Thus, as he cries before waking her up, he states that these are not tears of pity; Desdemona is receiving what she deserves, but that does not mean that her death does not sadden him greatly because at one point she was the love of his life.

Thursday, January 31, 2013

Othello #5


          Throughout Act 3 Iago is slowly molding Othello into a character quite opposite than the perfect-souled one presented at the beginning of the play. Othello’s pure heart is darkly clouded by Iago as Iago feeds him the fictitious tale of Desdemona and Cassio. In this first scene of Act 4, Iago continues the prodding, and it becomes clear that he has pushed Othello over the edge. Othello is utterly convinced that Desdemona is cheating on him with Cassio, and his anger is overcoming him. Othello’s soul is turning the color of his skin. His emotions come to a climax when he strikes Desdemona, exclaiming, “O, devil, devil!/ If that the earth could teem with woman’s tears,/ Each drop she falls would prove a crocodile” (IV.i.273-5). Not only has Othello physically assaulted Desdemona, but also he has called her a devil and claimed that her crying is not real. All of these actions are completely out of character for the Othello “whom passion could not shake” at the beginning of this play (IV.i.299). However, it is clear that this is not the same Othello. Up to this point in the play, Iago has defeated Othello; evil has defeated good.  

Wednesday, January 30, 2013

Othello #4


          Before Iago begins influencing Othello, Othello is an honest, trusting man. He loves Desdemona greatly and believes that Cassio is a loyal lieutenant. However, as Othello allows Iago’s words to sink in and take on a life of their own, he is easily manipulated. Iago tells Othello an elaborate story of how Cassio and Desdemona have been having a secret affair. Iago claims that Cassio even told him in his sleep that he was in love with Desdemona. Othello, a trusting man, believes everything that Iago is spewing. He considers Iago to be honorable and therefore, believes this fictitious tale. Othello allows his anger to overcome him: “All my fond love thus do I blow to heaven./ ‘Tis gone./ Arise, black vengeance, from the hollow hell” (III.iii.505-7). Othello takes Iago’s tale at face value and decides that he no longer loves Desdemona. He pledges to destroy not only her but also Cassio and lastly, decides to make Iago the lieutenant. Everything is going as planned for Iago. He has been sent by Othello to kill Cassio; he has the position that he originally wanted, and he has ruined Othello’s marriage, just like it has been rumored that Othello did the same to Iago. He has taken advantage of Othello’s trusting spirit.

Monday, January 28, 2013

Sound and Sense #13


Chapter 13

1.       The better version (a) has the same number of syllables in both lines. It also includes the parallel structure of “your guide” and “your guard”.

2.       Version b is better because it uses the harsh b and d sounds in the second line and uses “Apollo” instead of “Phoebus”, which is a softer sound to accompany the description of music.

3.       Version b is better because it is more cacophonous in describing the harsh croaking. Also, it uses consonance with the “c” sound and the harsh “s” sound.

4.       Version b is better because the first line is more euphonious with the assonance in “low” and “voice” and the rhyming of “bells” and “tells”. Moreover, the assonance with “twilight” and “silent” adds to the pleasantness of the bells.

5.       Version b is better because the soft m and r sounds accompanies the repetitive sound of nature and portray a sense of flowing since the sounds are repeated in all three lines.

6.       Version b is better fitted to the meaning because the lines are discussing the harsh singing of a bird, and the hard sounds of “warbles”, “discordant tones”, and “doleful” emphasize that meaning.

7.       Version b is better because the b and t sounds emphasized in the first line complement the words all describing weapons.  The repetition of the st sound serves the same emphasis in the second line.

8.       Version a is better because the repetition of the soft s sound in both lines accompany the image of hands washing something. Moreover, since the sound is repeated many times, it complements the idea that the hands of Death and Night do this action over and over again.

9.       Version b is better because it uses the soft ll sound in the first line and is more euphonious in the following three lines with the alliteration in the third line and the parallel structure of “to darkness” and “to me” in the last line. Since these lines are describing a calm scene, the lines should be euphonious.

10.   Version a is better because it uses more cacophonous sounds to describe this despicable bug. In the first line alone he uses the hard ch, st, g and b sounds.

Sunday, January 27, 2013

Othello #3

Reference the previous blog because of the mix-up we had. You told me just to skip this one, so I am.

Wednesday, January 16, 2013

Iago's Motives in Othello

During the first act of Othello, Iago begins his plot to destroy Othello. In order to justify his actions, he puts forth many motives:

  1. Iago’s first reason for his enmity towards Othello is that Othello wrongfully promoted Cassio ahead of Iago when Iago supposedly deserved the position.
    1. “He, in good time, must his lieutenant be,/ And I, God bless the mark, his  Moorship’s ancient” (I.i.34-5).

  1. Another motive that Iago puts forth is that Othello may have slept with Iago’s wife, Emilia.
    1. “And it is thought abroad that ‘twixt my sheets/ ‘Has done my office” (I.iii.430-1).

  1. A less apparent motive of Iago’s is that he simply has an evil spirit and enjoys plotting. It is a form of a game for him.
    1. “I/ hate the Moor. My cause is hearted; thine hath no/ less reason…If thou canst cuckold him, thou dost/ thyself a pleasure, me a sport” (I.iii.408-412).
  2. A motive that Iago slightly alludes to though could be speculation is that he is somewhat jealous that Othello was able to make Desdemona fall in love with him, and therefore, he is plotting to also destroy their marriage.
    1. “It/ cannot be that Desdemona should long continue/ her love to the Moor…When she is sated/ with his body she will find the error of her choice” (I.iii.384-394).

Wednesday, January 9, 2013

Sound and Sense Ch.12 Notes


Chapter 12

Ø  Rhythm: natural rise and fall of language

Ø  In every word of more than one syllable, one or more syllables are accented or stressed

o   Rhetorical stresses- make our intentions clear

Ø  End-stopped line vs. run-on line

o   Caesura pauses in the middle of lines

Ø  The poetic line is the basic rhythmic unit of free verse

Ø  Meter: identifying characteristic of rhythmic language that we can tap our feet to

o   Foot: one accented syllable plus one or two unaccented syllables

§  Iamb- short, long

§  Trochee- long, short

§  Anapest- short, short, long

§  Dactyl- long, short, short

§  Spondee- long, long

o   Stanza: group of lines whose metrical pattern is repeated throughout the poem

o   Metrical variations:

§  Substitution: replacing the regular foot with another one

§  Extrametrical syllables- added at the beginning or end of lines

§  Truncation: omission of an unaccented syllable at either end of a line

Ø  Expected rhythm coincides with meter whereas heard rhythm can diverge
Variation can be introduced by grammatical and rhetorical pauses